• Sijohaknonchong
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• v.44
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• pp.105-138
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• 2016

Recently with the research function, "XML Digital collection of Sijo Texts in the Period of Modern Enlightenment" DB data is being provided through the Korean Research Memory (http://www.krm.or.kr) and the foundation for the constructing the contents of Sijo Texts in the Period of Modern Enlightenment has been laid. In this paper, by reviewing the characteristics and problems of Digital collection of Sijo Texts in the Period of Modern Enlightenment and searching for the improvement, I tried to find a way to make it into the content. This database has the primary meaning in the integrating and glancing at the vast amounts of Sijo in the Period of Modern Enlightenment to reaching 12,500 pieces. In addition, it is the first Sijo data base which is provide the variety of search features according to literature, name of poet, title of work, original text, per period, and etc. However, this database has the limits to verifying the overall aspects of the Sijo in the Period of Modern Enlightenment. The title and original text, which is written in the archaic word or Chinese character, could not be searched, because the standard type text of modern language is not formatted. And also the works and the individual Sijo works released after 1945 were missing in the database. It is inconvenient to extract the datum according to the poet, because poets are marked in the various ways such as one's real name, nom de plume and etc. To solve this kind of problems and improve the utilization of the database, I proposed the providing the standard type text of modern language, giving the index terms about content, providing the information on the work format and etc. Furthermore, if the Sijo database in the Period of Modern Enlightenment which is prepared the character of the Sijo Culture Information System could be built, it could be connected with the academic, educational contents. For the specific plan, I suggested as follow, - learning support materials for the Modern history and the national territory recognition on the Modern Age - source materials for studying indigenous animals and plants characters creating the commercial characters - applicability as the Sijo learning tool such as Sijo Game.

• Sijohaknonchong
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• v.23
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• pp.161-188
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• 2005

The purpose of this study was to delve into the morphological types of Sijo in an effort to determine the morphological structure of Sasul-sijo, and it's also attempted to present standard about how to discriminate Pyong-si, Eos-sijo and Sasul-sijo from one another from a morphological standpoint. It's suggested that Si with tee Jangs, six verses and 12 stanzas or more, with three Jangs, seven verses and 14 stanzas or more, and with three Jangs, eight verses and 16 stanzas or more should respectively be called Pyong-sijo, Eos-sijo and Sasul-sijo. After what Sijo was and what's not were discussed, how to distinguish Eos-sijo from Sasul-sijo was described, and finally, the structure of Sasul-sijo was presented. As for Sijo and non-Sijo, the types of works that consisted of tee Jangs, like Sijo, yet didn't suit its framework and Yuljo and were written in Chinese characters were regarded as non-Sijo. Concerning discrimination between Eos-si and Sasul-sijo, the type of Sijo that included one more or higher number of verse(s) and two more or higher number of stanzas in one of three Jangs was defined as Eos-sijo, and the type of Sijo that involved two more or higher number of verses and four more or higher number of stanzas in one of three Jangs was called Sasul-sijo. In other words, Eos-sijo contained one more verse in one of tee Jangs, and Sasul-sijo included one more Jang in one tee Jangs. The sort of Sijo that contained one more Jang in one of three Jangs could be viewed as Sasul-sijo. Regarding the structure of Sasul-si, there should be three Jangs, eight verses and 16 stanzas in one piece of Sasul-sijo. Any type of Sijo that contained two more or higher number of verses and four more or higher number of stanzas could be called Sasul-sijo. Such an addition of verse and stanza could done in various ways. The examples were (1) adding stanzas the first Jang, 2) adding stanzas to the second Jang, (3) adding stanzas to the final Jang, (4) adding stanzas to both the first and Second Jangs, (5) adding stanzas to th the second and final Jangs, and (6) adding stanzas to all the first, second and third Jangs at the same time. Besides, there was an extremely broad gap between the numbers of verse and stanza in Sasul-sijo, which ranged from a low of eight stanzas to a high of 87 ones in one of three Jangs.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.261-285
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• 2016

Saseol-sijo, a form of sijo with longer verses, still affords pleasure to modern readers, even when it is read without the original performance context. In this study, I focused on Saseol-sijo that induces laughter through exaggeration and caricature while singing about eagerly waiting for a lover who has left. These texts describe concurrently the emotions that are contradictory to each other, such as nostalgia and laughter. In addition, this feature reflects human's inner emotions that are not unified but rather change dynamically. Craving creates a sense of nostalgia, and also produces a comical element in nostalgia, so that nostalgia and laughter can be co-exist without conflict. In this study, 'semiotic square' was applied as the framework for interpreting the Saseol-sijo, which demonstrates the coexistence of inconsistent meanings. As a result, a Saseol-sijo which sings about waiting for a lover can be interpreted through contraires such as prohibition and authorization, craving and concerns, exposure and concealment and concentration and dispersion. The nostalgic laughter in Saseol-sijo is generally based on the conflict between the craving self and the restrictive world. A character consumed by craving may seem ridiculous and pathetic in the view of others. However, people in general would find sympathetic humor and identify with characters who portray their weaknesses or repeat their mistakes. After all, this is the laughter of compassion and reflection which Saseol-sijo evoke.

• The Journal of the Korea Contents Association
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• v.15 no.2
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• pp.163-176
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• 2015

This study aims to decode newly 'Mojookjirangga' of the Sillian songs on higher viewpoint that is to integrate previous decodings; furthermore to discuss a musical composition of the Sillian song. So to speak, when we read 'hoe(廻)' as 'gam(감)-' instead of 'dol(돌)-' in the song 'Mojookjirangga' which was written in Chinese Characters, such a decoding contributes largely to grip the deep meaning-structure of the elegiac song. Consequently we are able to sing that 'Mojookjirangga' according to the characteristics of national music. However the characteristics of national music are 1) the length of a phrase makes a rhythm, 2) the first beat is strong beat and becomes more and more weak, 3) there are shaking sounds on the long rhythm and changing vowels, 4) there is deep and great dignity in those national music songs. Then we can find those characteristics easily at Sijo-songs. In fact, the Sillian songs and Sijo-songs of Chosun period are more popular music. Then we are going to sing 'Mojookjirangga', referring to the method of Sijo-song and the characteristics of national music. Nowadays such an attempt is to contribute to enrich our national culture and to make the global Korean-stream more abundant.

• Journal of the Korean Society for Library and Information Science
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• v.10
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• pp.149-188
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• 1983

This study is about a literary man, Suheon Lee Jung Kyeung(AD. 1599-1678) and his poem 'Ohdae Eubuga' written in the language of the common people(RiEu) of Cho Seon dynasty. The outline of this study are as follows: 1) The work has been written at Ohdae, Cheongdo Gum, Kyeung-sang Do, in AD. 1656 that is the 7th year of King Hyo Jong of Cho Seon dynasty. 2) The work was written in the Korean and Chinese characters, in the form of the ancient Korean ode (Sijo). The twenty odes are composed of 'Eubuga' with 14 poems and 'Eububyeulgok' with 6 poems. The pleasureof his public life was well represented in these poems. 3) The work is included in his original manuscript 'Japhwewonjib' written in AD. 1664, the 5th year of King Hyeun Jong of Cho seon dynasty. 4) It seemed that the work has been mostly influenced by 'Mooyee Gugokga' of Joo Hee(AD. 1130-1200) of South Song dynasty, 'Eubusa' of Nongam Lee Hyeun Bo(AD. 1467-1555) and 'Dosan Sibyeegok' of Toegei Lee Hwang(A.D. 1501-1570) of Cho Seon dynasty.

• Sijohaknonchong
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• v.22
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• pp.115-142
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• 2005

Woman is individual than social. passive than active and defensive than offensive. In addition. they taught that these characters are femine in the middle ages and the feudal ages. The closed and limited society was common to women in the feudal society. But there were many classes in women society from the humble maids to the queen in Chosun Dynasty. And Kisaeng(a singing and dancing girl) was free in comparison with the noble women. But Kisaeng were also limited as woman. They could write literary works according to the playing with poems and something like that with the men of intellectual class. But this also gave them sorrows. In the feudal Chodun Dynasty. men recognized the noble women specially and this is the special quality of Chosun. The Confucianism which was the existense thought of Chosun. discriminated between men and women. But women studied secretly and wrote poems pouring their thoughts and emotions. Maechang wrote many Shijo (Korean verse) with the delicacy description and the real expression. The reason Chosun woman Maechang could wrote Shijo which is free from the feudal limitations is that she was Kisaeng, She had a love as a Kisaeng who had to play with the intellectual men. But she loved Yu hee-kyoung. So she preserved chastity for him and waited only him. This is the love of both body and soul. And love with Hu kyoon friendship which is far from love. The limited love because of the spatial parting and the discrepancy of the social position is the most sorrowful. 10 years love with the intellectual men such as Hu kyoon is a friendship with poems. It was not love, so they had to temperate. So they love each other as a literary friend. We can see the feminist Hu kyoon, and see Hu kyoon who loved the literature and assert the renovation. Maechang was free from the chastity but she preserved it because of her proud. She dreamed the fairyland as Hunansulhun. Because she couldn't realize love. She ended her literature and Kisaeng life at 38 years old. There are literature of nansulhun as a noble woman and of rnaschang as a Kisaeng in Chosun Dynasty.

• Sijohaknonchong
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• v.21
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• pp.47-76
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• 2004

Newly discovered ${\lceil}Gogeummyeongjakga{\rfloor}$ is a copy collection of the old poetry SI-JO, which is specified in the book of yellow Gojeongji. {$\lceil}Gogeummyeongjakga{\rfloor}$ is guessed to be copied before the 17th year of King Yeongjo's reign(1740) and thus it's the early collection in the history of the Korean verse, Shijo. According to our research, there are 78poems in the collection and nine out of them hasn't been yet reported to the Korean Academy. The characteristics of Shijo in the book are followed. First. The collection is different from other books since the book was written in Korean instead of Chinese characters, which shows the uniqueness of the Korean literature in the late 17th and the early 18th century. Secondly, there are different versions of a poem in the collection, which is quite unusual in the other collections. There are different words or phrases used in different versions and even the whole verse is modified in some cases. Thirdly. two out of newly discovered nine short lyric songs is transformed from and that are kind of Chinese Ak-Bu. By the way, the compiler of ${\lceil}Gogeummyeongjakga{\rfloor}$ seemed to understand the co-relation between Ak-Bu and Shijo. and that's why he chose transformed Shijo from Ak-Bu not Chinese poetry. Among nine poems, <9> and <10> are newly discovered responding songs unknown up till now.

• Sijohaknonchong
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• v.44
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• pp.57-74
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• 2016

This these studies on SiJo to be published Dongkwang magazine. Dongkwang magazine was published from 1926 to 1933 but in the concrete it proceeded for three years two month. It was published a little SiJo and SiJo would reflected a phenomenon of society and a character of literature. A representative characters of the Si-Jo in substance at that time was summed up three. First it described a warmth of farm village. Expecially make full use of a sensuous description expressed a landscape of farm village. Otherwise it revealed a life of austerity in farming area. Second it reflected a phenomenon of return to their home village. People who was familiar with their country loved to come back their old home. To relax their mind and body they came back home and they pursuit romantic life. Third it was a poetry of historical retrospect. Although their country was colonial situation they longed fot their country's independence. Because of this anxiety they expressed their heart by means of old sijo. Mainly using old castle, ring, historic site they revealed a hidden feelings thst they had. It was a sorrow, an eager, remembrance etc. In spite of a poor surroundings they sang hope, romance, an possibility of independence. and so SiJo reflected the phases of the times.

• Sijohaknonchong
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• v.19 no.1
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• pp.179-205
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• 2003

The purpose of this study is about to consider the structure of dualistic recognition between "Gang-Ho"(ideal sanctuary) and real world in the "Songs of Fisherman" written by Lee Hyeon Bo. In order to do this job, I analized the arrangement of the contents and extract the exact in and outward meaning of elements and expressions; usage of them between lines of this Song. Based on these works, I tried to explain the confronted recognitions of the two worlds. At the first, about the arrangement and contents of this poem, It is consisted of 5 independent sub-poems and each of them are describing the value of fisherman's life(at the poem 가), separation from mundane world(나), satisfaction of fisherman's life(다), nature of "Gnag-Ho"(라), domiciliation in the place(마). It looks like that the writer intended to have the arrangement probability and likelihood connecting poems. Secondly, It contrast the nature of the "Gang-Ho" and real world. The sanctuary is a place of 'absence of worldly desire' and 'cordiality' that could afford one's harmonious life. On the other hand, the real world is a troublesome place which always conflicts political confrontations. For those reasons, the writer wants to satisfy with his living in "Gang-Ho" separating himself from the real world. Thirdly, The nature of "Gang-Ho" is 'absence of worldly desire' and 'cordiality' that one could be deserved his diligency becoming a part of the harmonious idealistic living place. Fourthly, on the character of story teller. Originally he is a incomer of "Gang-Ho" from real world. so that reason, he is showing dualism not to deny the loyalty oath to his king, while he intends to satisfy with the life in "Gang- Ho" separating himself from real world. As a gentry, at that time, the loyalty oath is inevitable one and that is found from writer's other works either. Fifthly, Characters of the different world recognition. The main reason of his intention to "Gang-Ho" roots on out of worldly confrontations, his separation from real world is on a joyous peaceful life just like in "Gang-Ho". this study believes the writer imply that 'absence of worldly desire' and 'cordiality' of "Gang-Ho", be a key role to resolve the confrontation of real world. Lee Hyeon Bo himself regards the two elements as a advisable attitude of life. At last, Seeing the writer's other work and literature's educational effect, this study defines that even if the poem outwardly express one's lyricism but inside it warns governors ruling attitude.